Cybernetic Performance Ecosystems: The Im-Medea Cycle

Leonardo ◽  
2021 ◽  
pp. 1-12
Author(s):  
Thanos Polymeneas-Liontiris ◽  
M. Eugenia Demeglio
Keyword(s):  
System Theory ◽  
Performance Practice ◽  
Creative Process ◽  
Experimental Music ◽  
Creative Processes ◽  
Art Based Research ◽  
Different Levels

Abstract This article presents a series of experimental music theatre performances that took place between 2015 and 2017. This art-based research investigates how qualities of the posthuman condition could manifest in experimental music theatre, by applying cybernetic and system theory principles at different levels (i.e. compositionally, aesthetically, dramaturgically) in the creative process. The aim of this article is to present these creative processes and to introduce this type of performance practice, namely cybernetic performance ecosystem.

Gifted Classroom Environments and the Creative Process: A Systematic Review

2021 ◽  
pp. 016235322110014
Author(s):  
Lindsay Ellis Lee ◽  
Melanie S. Meyer ◽  
Kacey Crutchfield
Keyword(s):  
Systematic Review ◽  
Creative Process ◽  
Classroom Culture ◽  
Systematic Evaluation ◽  
Future Research ◽  
Critical Examination ◽  
Process Skills ◽  
Classroom Environments ◽  
Creative Processes ◽  
K 12

As the expectations for including creativity in K–12 education continually grow, creative process skills equip students with thinking strategies to generate and evaluate ideas. This systematic review explored existing research on elementary and secondary gifted classroom environments that promote creative process skills. A database search yielded peer-reviewed literature, empirical and practitioner-focused, for systematic evaluation. A critical examination of literature published from 2011 to 2019 identified characteristics of educational environments that foster creative processes and highlighted key themes, including integrating creative process skills, adaptive environments, reflective classroom culture, and challenges to implementation. Implications for classroom application and suggestions for future research are discussed.

«Lenataur» in the museum

2019 ◽  
Author(s):  
Оксана Александровна Абальмасова
Keyword(s):  
Creative Process ◽  
Modern Society ◽  
Art Museum ◽  
Arts And Crafts ◽  
Main Task ◽  
Joint Work ◽  
Creative Processes ◽  
Creative Project ◽  
The Creation

В статье представлен обзор выставки современного декоративноприкладного искусства Ленатавр, проходившей в Красноярском художественном музее имени В.И.Сурикова. Описание совместного творческого проекта музея и художников керамиста Елены Красновой и живописца Елены Лихацкой наглядно иллюстрирует технические трудности и творческие процессы, возникающие в совместной работе авторов произведений и куратора выставки. Автором с позиции куратора рассматривается подготовка выставки как творческий процесс и экспозиция выставки как самостоятельный художественный объект, при создании которого необходимо учесть множество взаимодополняющих факторов, соблюсти определенные условия экспонирования на музейной площади, совместить творчество разных художников, избежав диссонанса. Главная задача куратора состоит в том, чтобы представить произведения художников с такой позиции, при которой у посетителей возникает необходимость изучения творчества представленных авторов, которая вызывает побуждение к размышлению, привлекает внимание к животрепещущим вопросам современного общества, рассматриваемым в работах Елены Красновой. The article presents an overview of the Lenataur exhibition of contemporary arts and crafts, which took place in the Krasnoyarsk Art Museum named after V.I. Surikov. A description of the joint creative project of the museum and artists (ceramist Elena Krasnova and painter Elena Lihacka) vividly illustrates the technical difficulties and creative processes that arise in the joint work of the authors of the works and the curator of the exhibition. From the position of the curator, the author considers the preparation of the exhibition as a creative process and the exhibition as an independent artistic object, the creation of which requires taking into account many complementary factors, meeting certain conditions of display on the museum square, combining the work of various artists, avoiding dissonance. The main task of the curator is to present works of artists from such a position, in which the visitors need to study the works of the submitted authors, which causes an incentive to reflect, draws attention to the burning issues of modern society, considered in the works of Elena Krasnova.

Following Gesture Following: Grounding the Documentation of a Multi-Agent Music Creation Process

2012 ◽  
Vol 36 (4) ◽  
pp. 59-80 ◽  
Author(s):  
Guillaume Boutard ◽  
Catherine Guastavino
Keyword(s):  
Conceptual Framework ◽  
Creative Process ◽  
Relevant Information ◽  
Musical Work ◽  
Levels Of Abstraction ◽  
Musical Works ◽  
Multi Agent ◽  
Ethnographic Data ◽  
Different Levels ◽  
Do So

The documentation of electroacoustic and mixed musical works typically relies on a posteriori data collection. In this article, we argue that the preservation of musical works having technological components should be grounded in a thorough documentation of the creative process that accounts for both human and nonhuman agents of creation. The present research aims at providing a ground for documentation policies that account for the creative process and provide relevant information for performance, migration, and analysis. To do so, we analyzed secondary ethnographic data from a two-year creation and production process of a musical work having a focus on gesture following. Using grounded theory, we developed a conceptual framework with different levels of abstraction and consequent levels of transferability to other creative contexts. Finally, we propose several paths for grounding a subsequent documentation framework in this conceptual framework.

Perfect (im)Perfections–the choreographer’s reflections on the creative process

2015 ◽  
Vol 6 (1) ◽  
pp. 48-53
Author(s):  
Philip Channells
Keyword(s):  
Creative Process ◽  
Life Experience ◽  
Full Length ◽  
Personal History ◽  
Creative Processes ◽  
Cultural Boundaries ◽  
Diverse Backgrounds ◽  
Successes And Challenges

Abstract In 2014 Australian director/choreographer Philip Channells (Dance Integrated Australia) was commissioned by DansiT–Senter for Dansekunst i Sør-Trøndelag to collaborate with 20 members of the Danselaboratoriet and Danseteateret 55+ companies. The end result was a full-length intergenerational, disability-inclusive work that merged poetry, dance, theatre and music. Perfect (im)Perfections–stories untold was created with an international cast of artists with diverse backgrounds and life experience. The work premiered at the Multiplié Dansefestival in Trondheim on 3 April 2014. In his article, Channells shares his personal history and dance background before focusing on the collaboration. He discusses the inspiration behind the work, the creative processes and the successes and challenges in working across cultural boundaries.

Creativity of the Dream and Sleep State

2019 ◽  
pp. 124-149 ◽  
Author(s):  
Robert Stickgold
Keyword(s):  
Rem Sleep ◽  
Creative Process ◽  
Anterior Cingulate ◽  
Sleep State ◽  
Creative Processes ◽  
Dorsolateral Prefrontal ◽  
Full Speed ◽  
Stored Information ◽  
The Individual ◽  
The Brain

Rapid eye movement (REM) sleep is a stage of sleep that evolved in part to provide a privileged time in each day when the brain is disconnected from sensory input and freed of intentional, directed thought. The neurochemistry and neurophysiology of the brain during REM sleep is optimized for the exploration of normally ignored connections and associations within the brain’s vast repertoire of stored information. This includes changes in the activity of dorsolateral prefrontal, anterior cingulate, and medial orbital frontal cortices and the hippocampus, and reductions in norepinephrine and increases in acetylcholine in the cortex. This exploration of normally weak associations is critical to the creative process, and REM sleep can thus be considered a period of unbridled creativity. Much of this creative process is reflected in the content of dreams. Even without waking dream recall, changes within associative networks produced by the brain mechanisms of dream construction can leave these brain networks—and the individual—primed for reactivation at a later time, leading to the “discovery” of creative insights. Some, but not all, of these brain changes are also seen during periods of quiet rest with activation of the default mode network (DMN). When active, this network can likewise provide a state of enhanced creativity. Nevertheless, REM sleep and dreaming provide a protected two hours every day when creative processes run at full speed.

scholarly journals Alvin Lucier's Music for Solo Performer: Experimental music beyond sonification

2014 ◽  
Vol 19 (1) ◽  
pp. 17-29 ◽  
Author(s):  
Volker Straebel ◽  
Wilm Thoben
Keyword(s):  
Performance Practice ◽  
Central Place ◽  
Experimental Music ◽  
Electronic Equipment ◽  
Brain Wave ◽  
Brain Waves ◽  
Percussion Instruments ◽  
History Of ◽  
The Brain

Alvin Lucier's Music for Solo Performer (1965), often referred to as the ‘brain wave piece’, has become a key work of experimental music. Its setup, in which the brain waves of a solo performer are made to excite percussion instruments, has given the work a central place in the discourse on artistic sonification. However, only a small number of the authors making reference to the work seem to have studied the score, and even fewer have given thought to the score's implications for performance practice and aesthetic reflection. This paper pays detailed attention to these yet overlooked aspects, drawing on accounts of early performances as well as the authors’ participation in a 2012 performance led by the composer. We also trace the history of live-electronic equipment used for Music for Solo Performer and discuss the work's reception in sonification research.

Epilogue

2018 ◽  
Author(s):  
Barbara Rose Lange
Keyword(s):  
Creative Process ◽  
World Music ◽  
Far Right ◽  
The West ◽  
Creative Processes ◽  
Musical Production ◽  
Production And Distribution ◽  
World Economic ◽  
The Individual ◽  
World Economic Crisis

The Epilogue describes how economic and social shocks of the late 2000s, in particular the 2008 world economic crisis, affected local fusion musics in Central Europe. It discusses changes in artistic personhood, musical sociality, creative processes, and connections to the West European musical market; efficiency penetrated the creative process, and more aspects of the individual became monetized. The Epilogue describes how far-right nationalism and its musical expression strengthened in the late 2000s, and how others made musical interventions against these trends. It describes how musicians changed their relationships with large arts institutions, detailing how by the 2000s, intellectually oriented musicians established some connections to the Western European world-music industry and to new modes of musical production and distribution. It concludes that few artistic experiments could continue after socioeconomic shock.

scholarly journals Effects of Restorative Environments on Creativity in Case of Architecture Education

2020 ◽  
pp. 242-257
Author(s):  
Beste Sabir
Keyword(s):  
Creative Process ◽  
Quantitative Methods ◽  
Free Association ◽  
Architectural Education ◽  
Architecture Education ◽  
Restorative Environments ◽  
Creative Processes ◽  
Education Production ◽  
Architectural Production ◽  
The Brain

Creativity is a mental process, and cognitive psychology has focused on this subject, especially in the last century. While neuroscience concentrates on creative processes; new data emerges. When we consider architectural production as a creative process, the "free association REST thinking mode" focuses on the principle of free circulating thought, allowing relaxation and free-thinking to lead to new connections (creative moments) in the brain. The paper aims to focus on how spaces affect the creative process in case of architectural education, production, and creation. If REST mode — as relaxation, meditation, and awareness — supports the process of creation, how do restorative (calming, meditative) spaces and environments affect this process as well? With this approach, students will be questioned with quantitative methods to collect data about the effects of faculty and meditative environments on the creative process.

scholarly journals COURAGE AND CREATIVE PROCESS IN OSMAN AYOB'S AUTHORS THROUGH EMPANGAN TUGAL NOVEL

2020 ◽  
Vol 3 (11) ◽  
Author(s):  
Nurul Husna Mat Nor
Keyword(s):  
Creative Process ◽  
Aesthetic Experience ◽  
Literary Work ◽  
The Novel ◽  
Creative Processes ◽  
The People ◽  
Aesthetic Consciousness ◽  
Simultaneous Process ◽  
The Mind ◽  
Selection Of

This paper aims to discuss courage with the creative process of creating a novel within the author. The limitation of this study is the study based on the novel Empangan Tugal by Osman Ayob's. In addition, this qualitative study and approach to the library will also discuss the bravery and creative process of creating the work. This study is supplemented by the research documentation related to Theory Rasa-Fenomenologi by Abdul Aziz. According to the theory of Rasa-Fenomenologi, aesthetic experience is an experience experienced when a simultaneous process takes place in the mind of the reader. Second, the literary work undergoes transformations into aesthetic objects and the third is the common awareness of transforming into aesthetic consciousness. Analysis of this study found that Osman Ayob did not miss the novel using the creative process. This study focuses on the bravery and creative process of Osman Ayob's authorship through the Empangan Tugal novel. This study looks at how the values of bravery and creative processes in Osman Ayob's authorship are used in the text. The selection of the Empangan Tugal novel is because this novel highlights the value of courage in the text surrounding the life of the people today.

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